PHOTO FREDERIC DUCOUT value, and multicolour mixes of large, often cabochon gems, instantly brandidentifying. Keeping it fresh is the secret, according to creative director Lucia Silvestri. “The greatest challenge is finding the balance between innovation, experimentation and the need to preserve our unique legacy – a consistent, recognisable identity,” she says. “In an increasingly competitive market, a product being immediately identifiable as Bulgari through creativity, design, use of colour and craftsmanship is an immense value, something we are very proud of ”. It is hard to imagine her competitors disagreeing. Chaumet’s illustrious history includes being court jeweller to Napoleon (it still makes exquisite tiaras) alongside jewellery rooted in nature, from flowers to wheat ears to insects. “There must be a rhythm between our brand DNA and the idea of style,” says creation studio director Ehssan Moazen. “The DNA must evolve and transcend time whereas style should be timely and social. Our high jewellery serves clients and collectors who are investing long-term – it gives [us] the chance to push boundaries and help rare know-how to flourish but we need to keep the emotional connection between it and our fine jewellery, for artistic consistency.” British-founded Graff has focused on the best, and sometimes biggest, diamonds for over sixty years and this, says design director Anne-Eva Geffroy, “gives us strong design DNA and our own story, so our freedom of expression is incomparable. We are also vertically integrated, with access to a wide range of significant gemstones, and often these extraordinary stones guide our designs alongside nature, history and architecture.” Such principles guide all high jewellery. It is easy to bracket New York jewellers Tiffany & Co and Harry Winston as brasher brands with strong Hollywood links yet they are equally dedicated to quality, and utterly distinct. Tiffany has always worked with gem hunters and geologists who can still bring new gems to market, currently Chaumet white-gold Fougère tiara, ring and earrings set with brilliant-cut diamonds, chaumet.com beguiling us with vivid cuprian elbaite tourmalines or soft, tawny Umba sapphires. It also has a long history of design partnerships, the best known with Elsa Peretti on fine jewellery and mid-century French designer Jean Schlumberger on high jewellery (today’s fantasy naturalistic style often inspired by his work). Harry Winston’s eponymous founder loved diamonds (he carried one in his pocket for luck), and many great diamonds passed through his hands. He invented the cluster setting where stones of various shapes are set together at angles for maximum light refraction and sparkle, usually combined with prime examples of classic coloured gems. The latest collection, Royal Adornments, is full of regal pieces from extraordinary matched Colombian emeralds to diamond pavé swagged brooches. Chopard, meanwhile, brought the celebrity red carpet to Europe as main sponsor of the Cannes Film Festival, and has led the drive to ethical, traceable materials. Many recent pieces are bold, intricate and made from titanium – super-light, difficult to work but perfect for items that sparkle in the flash of paparazzi cameras. It’s a short step from the red carpet to high fashion, where couture houses are developing high jewellery as a natural complement to handmade gowns. Coco Chanel used many personal symbols, from camellias to lions (her star sign) in costume jewellery but the house’s latest high-jewellery collection is abstract, brilliantly transforming the warp and weft of their trademark colourful tweeds into precious metal and gems, and the best sort of symbol – subtler than many but unmistakable to anyone in the know. CENTURION-MAGAZINE.COM 35
